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Klassiek - Verschenen op 22 november 2019 | Alia Vox

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A tireless researcher of ancient and baroque music across all continents, Jordi Savall hadn't ever tackled Handel's Messiah before a series of five concerts in Dole, Besançon, Paris, Barcelona and Versailles in December 2017. And it's that latter concert which features on this new album. In it, we find the Concert des Nations with Manfredo Kraemer as the concertmeister and the faithful instrumentalists of La Capella Reial de Catalunya. Savall assembled a team of soloists with Rachel Redmond, soprano, Damien Guillon, countertenor (who sings parts originally written for a woman's voice), Nicholas Mulroy, tenor and Matthias Winckler, bass. This project was made possible thanks to a Franco-Spanish collaboration. The project matured in the beautiful and historic surroundings of the Royal Saltworks of Arc-et-Senans, before taking off for a tour of the two countries and winding up as a Christmas present for many fans of Catalan music. © François Hudry/Qobuz
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Klassiek - Verschenen op 8 november 2019 | Sony Classical

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Klassiek - Verschenen op 1 januari 1997 | Archiv Produktion

Onderscheidingen Diapason d'or du siècle - Diapason d'or de l'année - Diapason d'or - The Qobuz Ideal Discography
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Religieuze vocale muziek - Verschenen op 24 oktober 2014 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Klassiek - Verschenen op 9 maart 2015 | Decca Music Group Ltd.

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Klassiek - Verschenen op 5 februari 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 1 december 1991 | harmonia mundi

Onderscheidingen The Qobuz Ideal Discography
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Cantates (wereldlijk) - Verschenen op 23 november 2018 | Erato

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Choc de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 1 januari 1983 | Decca Music Group Ltd.

Onderscheidingen The Qobuz Ideal Discography
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Kamermuziek - Verschenen op 9 februari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
It was for the occasion of the Covent Garden premiere of his oratorio Joshua in 1748, that Handel composed – or rather arranged – the first of his three Concerti a due cori (« Cori » does not mean here a vocal group, but two instrumental groups – two oboes, two horns, and one bassoon each, a total of ten soloists – answering to each other on the playing grounds provided by the strings), namely the HWV 332. At that time, it was customary to lighten up performances of the largest compositions, especially oratorios, with a sprinkling of instrumental pieces. But as Handel was a busy man and a businessman, and producing so much music so fast was no easy feat. This accounts for the fact that so many of his instrumental pieces are in fact recyclings – transcriptions, reorchestrations, transcriptions, according to what was available and requested – of earlier works, mostly his own, sometimes that of fellow composers – who would not necessarily be informed of the pillage. In the case of Concerto a due cori No. 1, Handel plundered a handful of his own operas and oratorios. The second of Handel's Concerti a due cori, HWV 333, written around the beginning of 1747, was premiered at Covent Garden in 1748 as part of a huge musical banquet, the main course of which was the brand new oratorio Alexander Balus. Here, the composer drew from some of his own English oratorios: Esther and Messiah, the latter still quite unknown. The wind groups take over melodic lines given to singers in the original choral versions of the adapted music. The third Concerto, HWV 334, contains mostly brand new music – yes! – even though the first movement is reworked in part from Handel's so-called Fitzwilliam Overture, for two clarinets and horn, while the concluding Allegro, with its brilliant and difficult horn writing, is a rewrite of a hunting aria from his own opera Partenope. For this recording, the Freiburger Barockorchester has added a twist: each soloist group is accompanied by its own string ensemble, thus creating a higly energetic stereo effect. One orchestra is conducted (from the violin) by Gottfried von der Goltz, the other – also from the Konzertmeister position – by Petra Müllejans. © SM/Qobuz
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Klassiek - Verschenen op 9 oktober 2007 | LSO Live

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Klassiek - Verschenen op 15 augustus 2007 | harmonia mundi

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Klassiek - Verschenen op 1 januari 2014 | Deutsche Grammophon Classics

Hi-Res Booklet Onderscheidingen Choc de Classica - Qobuzism - Hi-Res Audio
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Klassiek - Verschenen op 4 mei 2015 | ECM New Series

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Volledige opera's - Verschenen op 2 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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Klassiek - Verschenen op 6 oktober 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
For this performance, Philippe Jaroussky has picked a bouquet of pieces from lesser-known operas. Siroe, Riccardo primo, Flavio, Tolomeo and many others, written for the London stage between 1715 and 1740. With his Artaserse ensemble, which Jaroussky considers to have been the place where he has been able to fully mature, over several years of playing concerts all over the world,  the counter-tenor also presents a reflection on the repertoire of the castrato. Because, since this little procedure was discontinued, the singers tackling these roles have been performing airs which were not written for us, and have to be adapted to us. Bearing in mind that when Haendel put on an opera with a different troupe, he didn't hesitate to re-work entire roles to adapt them to new singers; Jaroussky has taken it upon himself to do the same for some of these airs, which he knows are not suited to his type of voice, and for which original versions with the correct tones are not always available. Regardless, this is an excellent exploration of Haendel's rarities, with some virtuoso turns, and material running from the introverted to the narrative, the lyrical to the explosive. Note that Artaserse are playing without a conductor, Jaroussky leading from the front, with his voice. © SM/Qobuz
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Operafragmenten - Verschenen op 10 januari 2011 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Klassiek - Verschenen op 1 januari 1988 | Archiv Produktion

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Klassiek - Verschenen op 1 oktober 2012 | Passacaille

Hi-Res Onderscheidingen Diapason d'or - The Qobuz Ideal Discography - Exceptional Sound Recording
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Symfonische muziek - Verschenen op 27 september 2010 | naïve classique

Hi-Res Booklet Onderscheidingen Hi-Res Audio - Stereophile: Record To Die For